
Yes, it’s finally here! The podcast I’ve been trying to finish for literally weeks! It will surely live up to the hype and anticipation…
Walkabout podcast – Composition
First off, since I’m speaking in generic composition terms within the podcast, you can click here for the entire list of posts that deal with composition, especially more specific and detailed aspects. There’s just a couple…
And while I’m at it, my views on art, a small part of the reason why I don’t pursue it rabidly. It’s got nothing to do with not being very good at it…
Did you get to the point where I demanded that you watch the video? Good – it’s this one [found here if the embed isn’t working for you]:
As noted, it’s not my video (I wouldn’t have used a suit,) but instead done by Daniel J. Simmons.
Several of the things I talk about in the ‘cast are illustrated within this one image, such as simplicity, point of focus (strong subject,) creating a scene, keeping the subject off-center, and framing to keep whole elements such as the boardwalk and the railed overlook. The overlook balances out the lighthouse, while the curve of the boardwalk helps direct our attention towards the subject, inviting us to come along. Also notice both the light quality/color and the angle, shaping the lighthouse and telling us it’s morning there; not only that, but both the overlook and the lighthouse are facing into the light, a subtly positive mood. A couple of clouds in the sky help fill in a large blank space, and the grasses tell us it’s a rustic setting – which is kind-of true. The lighthouse itself and the immediately-surrounding grounds are immaculately tended, but overall the locale is marshlands, which is more interesting and expressive, thus the “you choose what you want to portray” bit. Rule of thirds? Not really, but not far away – in other words, the concept is okay, but the mathematical precision so often given to the rule is completely unnecessary and not at all grounded in fact. if you want further detail about this, I’ve tackled it no less than three times: once, and again, and finally here.
But here’s another illustration, contrasting the rule with the approach I suggest, which is to use the elements within the frame to good affect.

The faint grey lines indicate the thirds concept, where the ladybeetle kinda but not quite falls. More importantly, the entire frond is framed well, not cut off at any point and thus providing a complete setting, actually a key part of the scene, and aesthetically pleasant all by itself. The soft backlighting gives it a brilliant glow, contrasted by the dark and muted ladybeetle, while the remainder of the background seems to indicate not a lone plant, but a thicket, one among many – even though, when you look at it, it doesn’t have to be a very big patch at all; there’s just nothing that contradicts the idea. And overall, a strong emphasis on just “green,” which works for display prints quite well. This is what I meant when I suggest tearing apart a favorite image to understand how and why it works for you.
And this is how you do it wrong – yes, I really did take this photo, at a time when I should have known better, and my only defense was shooting from a car window and anticipating the crane leaving the area before I could get off many frames. But look at how complicated and distracting the background details are, and how centered the crane is, and then the trash in the photo, and holy shit, the pole sticking right smack out of the top of the crane’s head! Seriously, do better than this (it’s not hard.)
Now here are more illustrations of things I talked about, such as setting the point-of-focus against a contrasting color in the background, while also using the background to build a frame around the focal point. The soft light allows for the subtleties of the flowers (even when it produces a truly boring sky, which is why it’s minimized in this frame,) but the larger version show the raindrops on the blossoms much more distinctly, so the grey conditions become more understandable. The single flower is set apart from all of the others so our eyes go right there, assisted by the shorter focus range, but the background is still expressive and distinct; this is not a photo of a flower, but of a particular scene, and anyone at all familiar with UNC Chapel Hill recognizes Old Well instantly. Moreover, other distracting and unwanted elements are hidden behind the flowers by shooting at a low angle. It’s easy to shoot a landmark and just have a photo of a landmark, but with only a smidgen more effort, you can add a lot of charm to the scene.
Did you get a nice impression from the opening photo? Admittedly, the heron could have been a little more separated from the rocks, framed by open water in an ideal composition, but at least the head and beak are distinctive enough to grab our attention, and the colors of the water and rocks offset each other nicely. And it may be hard to tell, but the heron is showing a hint of the color and light angle that tells us, in this case, approaching sunset. But now take a look at the original frame, without the cropping:

Makes a big difference, doesn’t it? if you originally got the impression of the heron being someplace out “in the wild” and far from civilization, good! That was the idea. Including the distant shoreline with its plethora of development changes the idea of where it was taken, and includes a lot of distraction that serves no purpose.
Now here’s another aspect, or at least the impression that I get. The version at top, without the shoreline, invites us to pay attention to the heron more, and we see it gazing at something out of the frame – there’s an implied direction that way, a definite bias to the left. But with the buildings in the picture, there’s another subject, and now the heron is oblivious to it all, seeming to gaze at nothing, but certainly paying no attention to the bustle beyond it, and we relate a lot less to the heron even though nothing about the heron itself has changed. Do you get the same impression?
Here we see why high-contrast light doesn’t work for high-contrast subjects. The head of the kid becomes so indistinct that it’s impossible to tell where it stops and the shadow begins, and while there’s the faintest hint of a sheen from the black fur on its shoulder, it drops almost entirely into the bottom registers of the image, even while the white coat has bleached out to indistinct pure white in most places – it illustrates the narrow range quite well. Adjusting exposure for either aspect would have driven the opposing aspect even further out of range, so no matter what, we would have to pick which portion of the goats we simply didn’t want to see the detail of – or choose better light conditions to shoot within. I personally have three different presets on my cameras: an ‘average’ setting with mid-range contrast and saturation, then one with reduced contrast and saturation, and one going the opposite way with increased settings. The one with reduced contrast and saturation is for use in high-contrast lighting such as this, helping to control these extremes, while the increased contrast/saturation preset is for use when the light is low-contrast and muted, making the colors pop a bit better.
By the way, if you’re looking for more information about white balance and the failure of the Auto White Balance setting, this page should help a bit.
So there you have it; don’t just take a picture, but make it. And keep moving forward – we all have room for improvement, and the more you do it, the easier it becomes.
Good luck!





















































Some of these are relatively recent, some of them are much older, but all of them are fantastic! No need to exercise your own judgment – I’ll just go ahead and provide your own opinion to you, because you obviously need it.
The image above is once again solely the blue channel, and this is somewhat typical of the results when using just blue – it tends to be the darkest, or at least it does for most of the images I shoot, anyway. It can also go pretty muddy at times, producing blotches in gradient areas, but this time around it came up sharp – this just might be a trait of the lenses I’ve used (all lenses bend different wavelengths of light by different amounts, and while some of them are good at correcting this within the lens array, not all of them are.) Regardless, the snail shell attracts attention while the head of the snail becomes much more subtle, and the whole thing gets moody. When Hollywood finally gets around to doing a film about a pathologically murderous snail, this image is here to guide them in producing the necessary ominous effect.

You can see a color version of this pic 


Of course, I couldn’t pass up my typical (actually, pretty trite by now) approach to colors when they’re scarce, this time in Mason Farm – I just liked the way the light angle was shadowing the leaf while still providing some backlight glow. Since this was before we had headed out to the colorful nature trails, I was working hard to produce something of interest for the outing – even though I already had a few images that will be highlighted towards the end of the post. You know how drama goes.












What I had also forgotten was that the recorder has a tendency to simply drop out at times, not even producing a gap or silence but just deleting a section of audio (more than a few seconds at a time) without even a telltale click – just this abrupt jump in the sentence to something later on. That’s kind of hard to deal with, requiring re-recording of at least some sections, and if you’ve never attempted this, matching voice quality and intonations can be pretty hard, especially if you suffer from winter sinus issues. Not really an ideal situation. I am still playing with options, so we’ll see where this leads.


Another example is this American sweetgum (Liquidambar styraciflua) at the same location, a lone tree among a lot of greenery that showed off a patchwork quilt of colors all by itself. A broader landscape shot would only have diminished the impact of the colors and would hardly have expressed “fall” in any significant way, so going in close was necessary to bring the impact of the contrasting colors. The sweetgum, and a couple varieties of maple, seem to be the only species in the area that develop vivid reds before shedding the leaves, but I could be wrong about that – identifying trees has never been my strong point. Mostly, what we see are yellows and browns, so fall colors tend to still be almost monochromatic until we stumble upon one of the more colorful trees.
The other trait is, such ground cover can make it really hard to spot venomous snakes that have chosen to sprawl where one is walking. This image doesn’t exactly illustrate this, because this one is not at all hard to spot and also isn’t venomous: this is a black rat snake (presently Pantherophis obsoletus) that’s just shy of a meter in length. Paths are slightly more attractive to snakes at this time of year because they often present regions of low grasses or undergrowth and thus more exposed to the sun, which is important to ectothermic species when the nights gets much cooler; sidewalks and asphalt roads are more attractive still. So when it comes to species like 
The patch of sunlight certainly helped me spot this next one, which was holding perfectly still well off the trail. It can be easy to find eastern box turtles (Terrapene carolina carolina) at this time of year because they can make a racket, relatively speaking at least, plowing through the dry leaves, but when holding still they’re better camouflaged by those same leaves. The ‘bump on a log’ with its distinctive shadow was enough to gain my attention, and I once again maneuvered around to go in for the portrait shot; the only indication from this one that it even realized I was there was to draw its head back a little when I got very close. Turtles can bite of course, and tend to have much stronger jaws than snakes, but it’s not among their first choices of defense so the risk was nonexistent, especially since I remained out of range.


